Creative intuition : a reading of Jacques Maritain's aesthetic.

230 Pages·2006·6.27 MB·English

by  Lambin, Ivo

CREATIVE INTUITION: A READING OF
JACQUES MARITAIN'S AESTHETIC
by
IVO LAMBIN
R.A., Sinion Fraser University, 1973
A THXSIS SUBMITTED IN PARTIAL FULFILMENT
OF THE REQUIRFNENTS FOR THE DECREE OF
MASTER OF ARTS
in the Department
of
ENGLISH
6 ) IVO LAMBIN, 1976
SIMON FRASER UNIVERSITY
March 1976
A l l rights reserved. This thesis may not be reproduced in
whole or i n part, by photocopy or other means, without
permission of the author.
Name : Ivo bmbin
Degree: Master of Arts
Title of Thesis : Creative Intuition: A Reading of
Jacques Maritein '8 Aesthetic
Examining Committee :
Cha irmn : MlchaeP Steig
- -
Frederick Candelaria
Senior Supervisor
-
-
Evan Alderson
-.
Bruce C.@&ford
hternal haminer
Assistant Professor
.
Department of Modern Languages
Simon Fraser University, Burnaby, B .C
%
d3.X
Date approved :
PARTIAL COPYRICHT LICENSE
I hereby grant t o Simon Fraser Univereity the right to lend
my thesfe or dissertation (the title of which is ~hownb elow) to usera
of the Simon Fraser University Library, and to make partial or single
copies only for-such users or in response to a request from the library
of any other university, or other educational institution, on its 'own
behalf or for one of its usere. I further agree that permiesion for
multiple copying of this thesis for scholarly purposee may be granted
by me or the Dean of Graduate Studies, It is understood that copying
or publication of this thesis for finandial gain shall not be allowed
without my written permission,
Title of Thesis/~issertationt
-
Author :
(signature )
(name )
April 8, 1976
(date)
ABSTRACT
The objective is to explore the possibilities of an
approach to literature derived from Jacques Maritainls philo-
sophy of a r t as found in his Creative Intuition & Art
Poetry.
A brief introduction proposes a particular reading
of Creative Intuition which brings into relief the relation-
ship between poet and reader. To Ibritain this relationship
is a communication of intuition from creative to receptive.
To make clear what he means by this contention, the emphasis
throughout the exploration is upon the nature and implication
- -
of the arc, poet poem reader.
The exploration is situated within the spectrum of
- -
present day criticism. The key relationship, poet poem
reader, potentially present in the reading of any literary
work is f i r s t considered in its naive expression. This naive
expression is explored and its significance to criticism
explicated.
Subsequently, Maritain's major concepts become known
and reach understanding through an exploration which grad-
ually spirals towards the meeting of poet and reader in the
poem. What emerges is a clarification of the concepts of
art, poetry, beauty, creative intuition. poetic intuition,
poetic knowledge, poetic experience, poetic sense, and the
nature of poet and critic.
iii
With regard t o the two major concepts, A r t , a s the
creative work-making activity of the mind and Poetry, as the
unique relationship between the inner being of things and
the inner being of the human Self, are explained from various
perspectives. The meaning of Self, which involves the dis-
tinction between person and individual is made clear. The
relationship of Self t o reality and its impact f o r creative
intuition is elucidated.
An approach to the literary work is shown t o proceed
from a conscious awareness of both the creative process and
the receptive process through an understanding of Poetry.
It is made clear that criticism's task is disclosure.
The exploration draws in various aspects related t o
other approaches. Significant connections between Keatsl
Negative Capability and Maritain1s poetic knowledge are
brought out.
In a second part, a commentary on disclosure reveals
aspects relating t o an approach to literature. Examples
from modern poetry are looked a t , especially from T. S. Eliot,
Marianne Moore, and Robert Lowell,
A fundamental conclusion drawn from this exploration
is that the literary work and criticism are both truly auto-
nomous and personal, Maritaints contentions and their im-
plications reveal a viable approach t o literature because
they are commensurate with the nature of a literary work as
-
understood i n the philosophical tradition of Aristotle
Thomas Aquinas. If P4aritain1s approach is an accurate
v
response in accord with the very reality of the literary
work, then such an approach integrates the truths of other
approaches into a higher synthesis. In this is the secret
of its potential success.
---TO A t4OHLL LADY
vii
ART :
.
"The creative work-making activity of
the human mindfl(3/3 )
POETRY:
. . .
"a process that intercommunication
between the inner being of things and
t.h e. inner being of the human Self
.(3/3L
POETIC SaNSE:
"is to the poem what the soul is t o man
and gives t o the poem its inner consis-
tency, its necessary configuration, and
first of a l l its very being and ex-
istencelf(258/191).
--- 1
Jacques )laritain
"Poetic sense: cannot be separated from
the verbal form it animates from withinow
---
2
Raissa Maritain
BEAUTY:
"a butterfly resting on a rose.
tt
---
naive perception 3
To my friend and brother, Donald, for in-
spiring and encouraging me to set my goal;,
to Professors Bruce Gifford, Lvan Alderson,
and Jerry Zaslove for their midance and
critical spirit i n the pursuit of my goal;
and especially t o Professor Fred Candelaria
--whose special g i f t for making students
disciples, not of himself, bat of Poetry-
i n the attainment of my goal, my deepest
gratitude.
TABLE OF CONTLNTS
Page
x i
1
PART ONE
CRITICAL EXPLORATION
.
I. CRITICISMAS"TALKU 23
a 6
Reflections on Talk
Significance of Talk
Thornism, fibritain and Criticism
.
11. PERIPH&HAL EXPLORATION
0 0
Descriptive Clarifications
The Intellect and A r t
A r t and Beauty
A r t , Beauty, and Creative Intuition
A r t and Criticism
Effects of Poetry on A r t
Poetry and Poetic Sense
Authentic Versus Automatic Unconscious
Poetic Intuition
Poetic Knowledge
Poetic Intuition as Both Cognitive and Creative
111. INNi3R EXPLORATION
The Poet and Reality
Poetic Experience and Inspiration
Poetic Sense and Imitation
Poetic Sense and the Poem
The Poetics of Naritain and Keats
. . . . . * . . . . . . .
IV. CENTRAL EXPLOHATI ON 103
The Dvnarnic of Poetic Experience: Poetry and
vmSiCtt
Creative Intuition and Receptive Intuition
Receptive Intuition as Encounter
The h i t i c